Unfortunately Fly Pan Am's Brighton gig has now been cancelled - please read their statement below:
"We're sorry to announce that next week's Fly Pan Am/Black To Comm EU/UK tour has been cancelled due to circumstances out of our control. We plan on coming back at a later date to make up for these shows."
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Hot on the heels of their stunning new album C’est ça, Montréal quartet Fly Pan Am have announced a new series of tour dates for March 2020. The band will be returning to the UK and Europe for the first time in 15 years - and they'll be peforming live at The Rose Hill!
Fly Pan Am formed in Montreal in 1996 and played their earliest shows with many of the city’s emerging instrumental and experimental rock groups (including Exhaust, Godspeed You! Black Emperor and The Shalabi Effect) in various alternate venues and extra-official warehouses during the late '90s. The band’s four founding members worked through four Constellation release from 1998-2004 and went on hiatus in 2005. They are: Roger Tellier-Craig (guitars, tapes, electronics, vocals); Jonathan Parant (guitars, tapes, electronics, vocals); J.S. Truchy (bass, tapes, electronics, vocals) and Félix Morel (drums, tapes).
Fly Pan Am has also collaborated with electronic artists Tim Hecker and Christof Migone, including a number of unreleased recording sessions, some of which can be heard on Constellation’s Song of the Silent Land compilation, as well as on Tim Hecker’s Mirages and on one track from N’écoutez pas.
The group reunited in 2018 for a performance in Montreal, their first live show in 14 years, and now are touring to Europe.
Support comes from Black to Comm, the solo project of German sound artist Marc Richter. Through masterfully manipulating sound he collapses the past, present and future of recorded music into kaleidoscopic pieces that transcend genre, bristling with detail: an intense sensory sonic experience. Before After, his new album and follow-up to his Thrill Jockey debut Seven Horses For Seven Kings, charts a hallucinogenic journey through polar extremes of emotion and to the outer reaches of sound, the perfect companion piece to its darker predecessor.
Richter’s technical approach to making music is deeply rooted in his philosophy of time. He points to a quote from early electronic pioneer Eliane Radigue: “everything is an interval, we are always in-between. And in this interval, between two states, there is a continual expression of invisible variations, imperceptible transitions.” Before After exists in that fluid, liminal space, drawing on sounds and influences from disparate pasts and using these to synthesise new futures.